100 books like Land of Big Numbers

I am a Geography professor at DePaul University with a long-standing obsession with the world, comparing puddle shapes to countries as a small child and subsequently initiating map and flag collections that I cultivate to this day. Having lived in different parts of the UK and the USA, as well as being fortunate enough to travel further afield, I’ve relished the opportunity to explore widely and chat with the people who know their places best. I love books that alter how I look at the planet, and I am particularly intrigued by the subtle ways in which people have shaped our world—and our perceptions of it—both intentionally and inadvertently.

I am a professor emerita of Anthropology at Berkeley. I have written books on Muslim women in runaway factories; the modern Chinese diaspora; Cambodian refugees in the US; neoliberal Asian states; and Singapore's biomedical hub. I also write on contemporary Chinese art. We live in worlds interwoven by assemblages of technology, politics, and culture. Each situation is crystallized by the shifting interactions of global forces and local elements. Given our interlocking, interdependent realities, a sustainable future depends on our appreciation of cultural differences and support of transnational cooperation. For many people, China today is a formidable challenge, but learning about its peoples' struggles and desires is a beginning toward recognizing their humanity.

I have been professionally involved with contemporary art since the 1980s, when I was a curator at the Institute of Contemporary Art in Boston. In the forty years since I've seen an enormous shift in the orientation of American curators and scholars from Western art to a global perspective. After earning my PhD at Harvard, and writing several books on contemporary art, I wanted to tackle the challenge of a truly comparative contemporary art history. To do so, I've depended on the burgeoning scholarship from a new more diverse generation of art historians, as well as on many decades of travel and research. My book Heritage and Debt is an attempt to synthesize that knowledge. 

I am a professor emerita of Anthropology at Berkeley. I have written books on Muslim women in runaway factories; the modern Chinese diaspora; Cambodian refugees in the US; neoliberal Asian states; and Singapore's biomedical hub. I also write on contemporary Chinese art. We live in worlds interwoven by assemblages of technology, politics, and culture. Each situation is crystallized by the shifting interactions of global forces and local elements. Given our interlocking, interdependent realities, a sustainable future depends on our appreciation of cultural differences and support of transnational cooperation. For many people, China today is a formidable challenge, but learning about its peoples' struggles and desires is a beginning toward recognizing their humanity.

From a very early age, I was interested in both magical stories (untrue) and life writing (true). As a writer, I love combining the two. In both fairy tales and memoirs, somebody goes into the woods and comes out wiser. At both Harvard and Oxford, I teach writing courses on Mythic Memoir. I tell my two children as many fairy tales as I know, and then I make up more. In 2022 I published my first collection of personal essays, Awake with Asashoryu, eleven short memoirs from my life, each with a myth or fairy tale at the heart.

I write strange, emotional novels from my book-filled apartment in Vancouver, a short walk from the ocean. This may be why I’m obsessed with islands. Or perhaps it’s because they evoke the feeling of being apart from the world, adrift, of protecting something rare. Whatever the reason, my novel takes place on an uncanny island off the coast of Mexico, where the locals drink tea in the afternoon and pray to skeletons hidden in caves. The story that unfolds on this island could not have taken place on the mainland, and I believe the same goes for the books on my list. 

Three biographical facts that well equip me to write about both monsters and mental health: I am a psychologist who researches, writes, and teaches about emotions, learning, and quality of life. I am also someone who suffers from panic disorder. I am also someone who enjoys interacting with the world of the dark and spooky, in part to tame my internal fears. I think that many of us use fiction in general and horror in particular as a sandbox of sorts—a safe place where we can expose ourselves to our fears, to test out scenarios, and to explore hidden parts of our psyche.

I’m a professor of Chinese studies, and I’m especially interested in what the close study of culture can reveal about aspects of contemporary Chinese life that are usually dominated by the perspectives of historians, sociologists, anthropologists, and political scientists. I’m fascinated not so much by how cultural practices reflect social change but by how they sometimes make it happen, particularly in societies where overt political action is blocked. As my book picks show, I’m intrigued by the inventiveness and drive of people who create culture, often new forms of culture, under conditions of oppression, exploitation, and duress.

I'm a writer and poet who loved reading books set in fantasy worlds like Narnia as a child. When I began writing for children, I realised my own magical experiences had been on family trips to India, where goddesses and temples, palaces swarming with monkeys, ice-capped mountains, and elephant rides were part of everyday life. The term ‘magic realism’ seemed to better fit my own fantasy world, Indica. Here, elemental magic is rooted in the myths and culture of young hero Minou Moonshine, expanding her experiences and guiding the search for her destiny. The children’s books I've chosen also contain supernatural and magical elements which are intrinsic to the protagonist’s world – no wardrobe needed!

I was born to privilege in Manhattan. A seeker from the get-go, I perpetually yearned to see below the surface of the pond and understand what lay beneath and how the world really works. Not connecting with Western philosophy, religion, or culture, I turned to the wisdom of the East at a young age. I stayed the course through decades of training in Chinese martial arts, eventually reached some understanding of them, and realized my spiritual ambitions when I was ordained a Daoist monk in China in an official government ceremony. I write about China then and now and teach meditation and tai chi around the world.